| Date and venue | Title |
|---|---|
| 21-Mar-2013 Southbank Centre: Royal Festival Hall | A chest of treasures: The Philharmonia's Lutosławski celebrations in London conclude |
 In An Attitude to French Culture the Polish composer Witold Lutosławski remarked “I am aware that of the two traditions that initiated 20th-century music, that is, Schoenberg and Debussy, it is the latter that I feel prevails in my own compositional work”. The Lutosławski centenary concert series at the Southbank Centre sought to trace this lineage by programming Lutosławski’s music alongside works by Claude Debussy, Albert Roussel and Maurice Ravel. Last night an invigorating programme saw this series come to a thrilling close with the Symphony no.Read full review... | |
| 26-Jan-2013 Lincoln Center: Avery Fisher Hall | Lorin Maazel and the New York Philharmonic in Tchaikovsky, Lutoslawski and Shostakovich |
 I often think of Lorin Maazel as the American equivalent of Sir Colin Davis – they are both in their eighties and they both deliver steady, reliable interpretations that let the music speak for itself. Maazel’s return performance with the New York Philharmonic on Saturday re-affirmed my view.
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| 20-Sep-2011 Lennoxlove House: Great Hall | Bach and Beyond |
 Janette Beckman.jpg) You might think that a programme containing Bach and 20th/21st century composers would suggest an evening of unconnected extremes. Nothing could be further from the truth in the case of Jennifer Koh's Bach and Beyond recital, given in Lennoxlove House, Haddington as part of the Lammermuir Festival. Positioned in front of the yawning fireplace in the Great Hall of this 700-year old stately home, she opened with Bach's Partita in E major, BWV 1006. This was the beginning of her programme's stated return journey from light to darkness.Read full review... | |
| 9-Apr-2011 Barbican Centre: Hall | Unsuk Chin Total Immersion, Barbican |
 Unsuk Chin's music is extravagant. This must have been a shockingly expensive concert to produce. The stage at the Barbican had to be extended to fit the massive orchestra, and the whole middle section of the stalls was closed off for safety reasons. The two intervals lasted longer than usual because there was so much equipment to move. Huge expense, smaller than average audience, even by new music standards. But such is the BBC's commitment to its ideals that this concert went ahead as the high point of a day-long Total Immersion, with other concerts, talks and a film.
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